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diceriadelluntore · 2 years ago

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Storia Di Musica #273 - Todd Rundgren, Something/Anything?, 1972

Le storie di musiche di Aprile hanno avuto il tratto comune di copertine con i fiori. I garofani stilizzati poco rappresentano un disco che, per mantenerci nella metafora, ha la qualità, la quantità e la bellezza di un grandioso orto botanico. Protagonista assoluto di questo capolavoro è Todd Rundgren. È una di quelle figure che in uno studio di registrazione sa fare di tutto: musicista, compositore, arrangiatore, produttore, a cui si aggiungono le magie di tecnico del suono, alcune pioneristiche che faranno scuola, appassionato anche di tecniche di registrazione video, il tutto sublimato in un carattere giocoso e bizzarro, che si rifletterà anche nelle sue scelte musicali e artistiche. È giovanissimo quando entra nel primo gruppo, i Nazz, quartetto rock pop che si rifaceva nel suono al beat inglese degli inizi degli anni ‘60. Nel 1969 i Nazz si separano. Rundgren è già un fiume in piena e pubblica a cavallo tra 1970 e 1971 due dischi, Runt (soprannome che gli ha dato Patti Smith) che ha il primo hit nel singolo We Gotta Get You A Woman, il secondo inaugura la fortunata collaborazione con la casa editrice Bearsville, fondata dal manager di Bob Dylan, Albert Grossman. La casa editrice aveva un meraviglioso studio di registrazione vicino Woodstock, nei pressi dove anche Dylan aveva una graziosa villa di campagna, e lì Rundgren sperimenterà tutta la sua creatività. In primis, come produttore: tra gli altri produrrà Paul Butterfiled, i Badfingers, la band di Robbie Robertson ma soprattutto i Grand Funk Railroad e Bat Out Of Hell di Meat Loaf nel 1977, con cui avrà successi commerciali giganteschi. Tutta la sua passione per la musica si esprime al meglio in questo doppio disco che esce nel 1972: 4 facciate che sono un inno d’amore alla musica, soprattutto la grande stagione del Brill Buildings, della canzone d’autore americana ma dove i spazia verso il rock, il proto punk, le sperimentazioni. Rundgren le prime tre facciate, ed è clamoroso, le suona, le arrangia e le produce tutto da solo: suonando tutti gli strumenti e cantando in tutti i brani. La quarta facciata, pensata come un mini musical concept, lo vede affiancato da un gruppo di grandi artisti tra cui Rick Derringer alla chitarra, Michael Brecker ai fiati, alcuni musicisti della Paul Butterfield Band. La parte personale la registra a Los Angeles, utilizzando anche tecniche rivoluzionarie all’epoca, come un sintetizzatore VSC3, uno dei primi utilizzati (e ci sono dei piccoli frammenti vocali nel disco dove Rundgren ne descrive l’utilizzo, si ascolti la bellezza strumentale di Breathless, che sembra 10 anni avanti il 1972), il resto a Woodstock. Le melodie orecchiabili che nelle note di copertina sono descritte in verità sono un’amalgama disumana di bravura e di passione, sebbene siano chiari i fari di ispirazioni per Rundgren. In scaletta pezzi che diventeranno hit come I Saw The Light, ispirata al suono dei Beatles, It Wouldn't Have Made Any Difference, altra hit, in stile Motown, The Night The Carousel Burnt Down, canzone da night club, cristallina e deliziosa. Sperimenta di tutto: i ritmi latini in One More Day (No World), sonda il blues in I Went To The Mirror, è cupo e dannato nella gotica Black Maria, satura di feedback chitarristici, omaggia persino Hendrix nella bellissima Little Red Lights. Saving Grace inizia con la voce distorta dal sintetizzatore ma continua come una grande ballad alla Bacharach, con degli arrangiamenti perfetti per tutto il disco. Se proprio si vuole concentrare in un brano la varietà di questo lavoro direi che basta Slut, che chiude l’ultima facciata: blues, boogie, rock'and roll urlato sguaiatamente, cori femminili, un vortice che prende spunto dal Wall of Sound spectoriano e che sale di potenza fino alla fine. Una prova magistrale, che lo impone come uno dei maestri della musica, per la sua eclettica grandezza. Il disco vende benissimo, e Rundgren ci prende gusto e ci riprova l’anno dopo con l’ancora più ambizioso A Wizard A True Star (titolo enfatico su come si sente lui stesso nel panorama musicale), dove il suo stile fantasioso raggiunge il massimo, e avrà un singolo in classifica in International Feel e nella rilettura del brano Never Never Land dal cartone animato di Peter Pan. Il trittico si conclude nel ‘74 con un altro doppio, Todd, anche stavolta realizzato quasi tutti da solo. Nello stesso anno, nascono gli Utopia, che lo accompagneranno per il resto della sua carriera, alternando dischi a nome solista a dischi a nome Utopia. Resta il fatto che Something/Anything? rimane una delle più memorabili espressioni di capacità musicali di un singolo musicista, e forse il più grande album “enciclopedico” di power pop. È stabilmente in tutte le classifiche dei più grandi dischi della storia, come esempio anche di eccessiva autostima, che però scivola via subito ascoltando la bellezza delle sue composizioni.

#todd rundgren #something/anything?#1972 #recensione

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ghost-in-the-stalls · 4 years ago

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Neil Josten's Playlist Part 1: Andrew

Masterpost and link to the playlist in its entirety

These songs are going to be the biggest chunk of the playlist. Are we surprised?

Okay here we go:

1. Take Me To Church - Hozier

I was not joking about Neil being a Hozier fan. You cannot tell me this boy doesn’t hear this song on the radio and immediately think of Andrew. Every time it came on he’d make sure the radio stayed on the station so he could listen all the way through. It got overplayed but he’s probably the only person in the world who never got sick of it at the time. He got used to listening to the same songs over and over again with his mom, so he's even comforted by repeating songs now.

5. Stay - Rihanna & Mikky Ekko

So one night, after several nightmares within the span of a few hours, Neil wasn’t too proud to admit that he absolutely wasn’t going to get any decent sleep that night. Andrew took him on a long drive without even having to be asked. The silence was shoving Neil even further into his thoughts, so Andrew turned on the radio. He settled on a station that was playing softer music that Neil probably wouldn’t hate, and he just kept driving. Once this song came on, Neil became enamored with it. It’s another one of those songs that makes him think of Andrew, but it’s more because he listens to the lyrics and realizes Andrew has said half of these things to him. It’s now a song that, even years later when he and Andrew are living in separate states and desperately trying to land contracts with the same team, Neil listens to on bad nights.

6. River - Bishop Briggs

Listen... this is just another really solid Andreil song.......... and I’m absolutely positive this is a song that Neil would like. Let me have this.

For Neil everything with Andrew is simultaneously loud and quiet and intense and gentle and hard and soft. He’s never known someone to make him feel so much yet calm him down from panic to nothing so smoothly. Even their intimacy holds so much complexity and weight to it. This is a song I feel like Andrew introduced him to, because it absolutely makes him think of Neil too (not that he'd say that out loud).

8. Dreams - The Cranberries

Renee likes the Cranberries and she got Andrew into them too. Andrew pretends this song doesn’t make him think about Neil but no one is actually fooled by that when they catch him listening to it. Least of all Neil because he feels the same thing listening to the lyrics. Not much explanation past that. Neil vibes with this song right from the opening lyrics (”Oh, my life is changing every day in every possible way”), to the comparison of a lover to a dream (he still remembers when Andrew called him a pipedream, even if he didn’t understand at the time), to the vocal breaks in the middle and at the end where it just sounds like someone singing their soul right out of their body.

Neil is a private person and not someone to ever scream his love from rooftops. But that doesn’t mean the concept doesn’t hit him deep. He’s been through a lot and he’s come out the other end with a love of his own that’s deeper and more than anything he ever imagined. His lack of expressing passion about most things (Andrew) doesn’t mean he doesn’t feel incredibly passionate about certain things in a way that cuts deep. He found love and it’s incredible

12. Easily - Bruno Major

I've mentioned this previously, but I hc that Andrew and Neil almost broke up in Neil’s last year at Palmetto. Not going to get into it, but this song had a big part in pulling Neil through that whole year, ESPECIALLY the situation with Andrew. Maybe I’ll make a separate, more detailed post about that sometime. But basically I hc that neither of them were in good spots emotionally. And Andrew was very close to giving up on everything - including Neil.

They managed to pull through and stop one another from giving up on it all, even when things got really hard.

15. Sunlight - Hozier

No I’m not done with the Hozier songs. Did I say I was done with the Hozier songs? Not gonna happen.

Anyway so the story of this song is he was talking with Allison and Nicky once about music and their SOs (well he was listening more than talking but he wasn’t ignoring them), and Nicky outright asked him if there was a song that made him think of Andrew. He’d heard this one for the first time recently and it was just the most recent of many songs that make him think of Andrew, so he threw it out there to humor them. They hadn’t heard it but were very doubtful that any song titled “Sunlight” could have anything to do with Andrew at all, so he showed it to them. They didn’t really change their minds and instead Allison went on another tirade about how Neil is gone for Andrew in a way that Andrew couldn’t possibly be for him and how she was worried for him. Nicky stood up for his cousin a bit, but ultimately was still agreeing with Allison to a degree that Neil may be expecting more than what Andrew could give him blah, blah, blah.

Neil wasn’t happy. Instead he found himself latching onto this song even further and becoming even more assured that it was a song for Andrew. Just because the others refused to understand who Andrew really is and the ways he’s learning to grow and heal and the fact that he’s someone worth loving god dammit, doesn’t mean Andrew is the monster they make him out to be.

For a while afterwards, he’ll put this song on if he’s ever given the aux cord. Because he’s petty. If Andrew catches on to what he’s trying to do, he never says anything.

19. Little Talks - Of Monsters and Men

This is definitely a song that makes Neil think of Andrew, though he'd never tell him that. They have both played both parts in this song, and it makes Neil's heart ache to think of all the bad nights that they weren't there for one another - whether it was distance or stubbornness or just general shitty circumstance. They both can get so trapped in their own heads in different (and sometimes similar) ways, and they're relationship has really been built in a lot of ways on the depth of emotional support they've learned to give one another in rough times. That steadiness, that presence that stays by you and keeps you grounded even when you want to crawl out of your own skin and hide somewhere far away. That is what they give one another.

24. Day After Day - Badfinger

This is another one he used to listen to with his mother, but he didn't really latch onto it until his final year at Palmetto when he and Andrew were doing long-distance. He learned in that year just how sentimental he had become in some ways. He finds it in the bone-deep longing he gets on late nights when he just wishes he could lie in bed next to Andrew - because he knew that's when he sleeps best. He'd listen to this song and let himself wallow for a little while, and then eventually put it away and carry on because he didn't have the time to slow down and feel things too hard.

Things are much better now and he doesn't feel as bad when he listens to the song. It's just a pleasant sound he leans into sometimes.

26. Don't Dream It's Over - Crowded House

This is another one that he first heard from his mother, but kept for himself without allowing it to be stained with her memory. It is one of those ones he listened to a great deal during his last year when things with Andrew got hard. He committed himself to not letting him go or breaking off what they had unless Andrew ever directly asked him to. He couldn't find it in himself to ever do that.

This song reminds him of that commitment and helps him stay strong with it, for better or worse. Everyone was convinced from the beginning that either Neil was bad for Andrew (Aaron) or Andrew was bad for Neil (everyone else except Renee and Nicky basically). This reminds him that he knows Andrew better. He knows HIMSELF better. He knows they aren't perfect, but he refuses to let himself fall into their blocked mentality where they choose to be blind to the reality of Andrew's character (or his own for that matter). He knows they are good together. He knows they help one another, they don't hold each other back. And he refuses to give up on them unless Andrew asks him to.

28. How Deep Is Your Love - The Bird and The Bee

This is another final-year-at-Palmetto one. He stumbles across this song while listening to one of Robin's playlists while he was driving her to practice. Listen to the lyrics and hear just how Andreil this song is. It fits so well, and Neil has to pull over and collect himself for a moment when he first hears it. It had been an especially rough week and he'd been struggling trying to balance giving Andrew space and support with communicating his own needs. This gives him the push he needs. He calls him later that night to talk and their time apart starts getting a bit more bearable for it.

29. TALK ME DOWN - Troye Sivan

This was Andrew's song that made him think of Neil. In every way. He found it while they were doing long distance. Neil first heard it on a midnight drive they took while he was visiting Andrew. They didn't say anything, but they didn't need to. Neil eventually asked him why he listens to this one when his taste is usually much louder stuff. He was expecting a stoically-delivered joke denying any potential relation to Neil or a comment about how Nicky got it stuck in his head or something while they were video chatting one weekend. Instead, Andrew just responded "You know why."

Neil stored the song away to listen to later on when they were once again sleeping in separate beds in separate states, knowing Andrew was probably listening to it as well.

38. Talking Bird - Death Cab for Cutie

Neil doesn't know why this song makes him emotional (yes he does). He doesn't know what it is about it that feels like it cuts so deep (it's because Andrew sent it to him). He doesn't get why Andrew showed it to him (it's because Andrew asked him to stay, but would never force him to if he ever did decide to run). He just listens and feels comforted.

44. I'm so Tired - Lauv & Troye Sivan

This is another one Neil found when he and Andrew were doing long distance. It was a bit of a rocky time for them and there were several of those make-or-break moments. You know, the kind any relationship has where you either pull through it together and are stronger for it, or end things where they are and go your separate ways. I imagine - during a particularly rough patch - Neil heard this song from one of his underclassmen roommates. He was thinking about Andrew (when is he not) and part of him wondered if Andrew was better off finding guys in bars to take home and have no connection to. It was a spiteful moment of self-pity that he let himself indulge in before coming to his senses and giving Andrew a call to smooth things over a bit.

He still listens back to the song sometimes. It has a nice, soft, smooth feeling to it. Now when he listens to it, he finds himself focusing more on the singer asking their lover to take them home so they can move forward because they're too tired to fight. He remembers how, when he and Andrew have reached that point, they've continuously chosen to fall back to one another instead of pulling away. It's a very comforting thought for him.

45. NFWMB - Hozier

I don't even know if I have to explain this one.

There are a lot of things that Andrew and Neil see in one another, but I think one major thing is how strong they both are in their own ways. Neither of them are someone you want to fuck with. This song is perfect for that.

And, once again I will say, Neil is a Hozier fan and I'll die on this hill.

50. It Will Come Back - Hozier

Another Hozier song look at that

Anyway this is song encapsulates exactly how Andrew feels about Neil repeatedly choosing Andrew (at least, how he feels about it in the beginning of their relationship). And Neil isn't blind to this at all. What he also isn't blind to (but that he knows Andrew forgets sometimes) is how Neil is also the stray Andrew showed too much kindness. Andrew is as stuck with Neil as Neil is making himself stuck with Andrew.

51. Love Lies - Khalid & Normani

If asked why he likes this song, he'd say it's because Matt showed it to him and it reminds him of Matt and Dan's inspiring relationship. There are very few people he'd admit the truth to.

Something about the song feels too typical and approachable to admit applying to him and Andrew. They don't have a "normal" relationship and there are a lot of norms they don't stick to. Neither of them are ashamed of that in any capacity (as they absolutely shouldn't be), and ultimately it just feels very strange to them both to consider what's between them as being on the same level of what other's have. Not necessarily in a better-worse context, more just an acknowledgment of stark differences.

But I think Neil also experiences a certain level of comfort when he catches himself relating to other "normal" people. So when he finds himself thinking of Andrew when he hears this song, he's not going to ignore that or let it go. He may, however, keep it to himself for a while. It just feels nice to do that.

72. 99 Luftballons - Nena

As a general rule, Neil doesn't like loud music. This one is an exception (though "loud" may be a bit of a stretch here) because he once got to hear Andrew singing along to it in the car late at night.

Andrew does that sometimes, sings along to songs when it's just him and Neil. It's never with a great deal of gusto or volume, more so just a soft mumble on a late night drive to ground them both. This song came on on a particularly rough night, but by the end of it Andrew was singing along louder than he ever did. Still not saying much, but it was a noticeable change to Neil.

Neil knows he was allowed to see something special that night - Andrew allowing himself to let out something he was feeling. Neil got to see Andrew in what amounts to a moment of vulnerability for him. It means the world to him.

74. Gooey - Glass Animals

This song makes Neil feel the way Andrew makes him feel. There's no other way to describe it. When it's just the two of them and they have moments of quiet intimacy, there's a specific feeling Neil starts getting - float-y but secure. Like he'd drift away if it weren't for an invisible string Andrew was holding.

If Andrew caught Neil humming this song one night as he fell asleep, unaware, he kept quiet about it.

75. Turn - The Wombats

This song Neil keeps because it's one Andrew specifically sent him. He didn't give an explanation, just "for your playlist, rabbit".

#aftg #my writing #neil josten #andrew minyard #andreil

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aion-rsa · 3 years ago

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All Things Must Pass Remaster Brings Out George Harrison’s Voice

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A new remaster of George Harrison’s All Things Must Pass highlights why it was such an important record. Not just as an album, but of the time it was made. Besides the lead guitarist for the biggest act in showbiz history, it boasted players and a producer who each made an impact on the course of modern music. It’s been celebrating its 50th anniversary for a while now and it’s earned it. It was the first triple album by a single artist in rock history (the Woodstock concert album, released six months earlier, included a compilation of acts), and set the standard for longer long-playing albums.

Harrison set quite a few standards, including the first rock benefit project, The Concert for Bangladesh. As the Beatles guitarist, he demonstrated melodic and harmonic possibilities which hadn’t been explored in rock and roll, often changing the entire feel of songs with a single riff. As their in-house tonal experimentalist, his sitar-led songs didn’t just use the eastern stringed instrument as an exotic guitar. They captured the structure, atmosphere, tonality and shifting rhythms of Eastern music. The opening of “Love You To” can barely be classified as western commercial music, but had a universal appeal. As the band’s somewhat lesser-known songwriter, Harrison composed musical standards which eclipsed even the mighty songwriting team of John Lennon and Paul McCartney.

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The consistent hitmakers made for a competitive compositional atmosphere in the band. “I had such a lot of songs mounting up that I really wanted to do, but I only got my quota of one or two tunes per album,” Harrison admitted on The Dick Cavett Show in 1971. Even after a new arrangement was worked out for the group’s output, Harrison had quite a backlog of songs when the Beatles broke up. At least two of the best known songs from All Things Must Pass were written in 1966.

While still in the Beatles, Harrison released Wonderwall Music, which was a soundtrack to a film, and Electronic Sound, which saw him as one of the early experimenters on the synthesizer. According to the press statement for the remaster, George, along with Ringo Starr and bassist Klaus Voorman recorded fifteen songs at EMI Studios on the first day, May 26, 1970. The demo included “What Is Life,” “Awaiting on You All,” and “My Sweet Lord.” The next day Harrison played 15 more songs for co-producer Phil Spector, who covertly recorded them. The songs “Everybody, Nobody,” “Window, Window,” “Beautiful Girl,” “Tell Me What Has Happened to You,” “Nowhere To Go,” and “Don’t Want To Do It” never made the album. The whole session did come out on the bootleg Beware of ABKCO set.

The 50th Anniversary re-issue of All Things Must Pass includes versions of “Mother Divine,” and “Cosmic Empire,” which have never been officially released. The official music video reveals “Cosmic Empire” as a melodically catchy piece, with an instantly recognizable acoustic guitar run, and a change into a deep blues false ending.

You can see the video here:

The Wall of Sound

The deluxe 50th Anniversary Edition is executive produced by Harrison’s son Dhani, and his first order of business was to pull back on Spector’s reverb-heavy production. Spector was the man Lennon brought in to produce the song he’d written for breakfast, wanted to record for lunch and have out for supper: The Plastic Ono Band single “Instant Karma!,” which Harrison played on. Spector also produced the final mix of the Beatles’ Let It Be, as well as Lennon’s Plastic Ono Band and Imagine albums.

Spector was a legend in the studio. He created the “Wall of Sound” with the top session players of the early 1960s, and Harrison tasked him with doing it again with the current cream of the musical crop. This included two of out of three members of the band Cream. Ginger Baker drums on a jam, and Eric Clapton’s guitar gently weeps all over All Things Must Pass. Crying on the inside over his unrequited love for George’s wife Pattie Boyd Harrison, Eric was getting ready to wail about her on Layla and Other Assorted Love Songs. Harrison co-wrote “Badge” with Clapton for Cream’s Goodbye album, and played on Derek and The Dominos’ debut single, “Tell The Truth” backed with “Roll It Over.” Spector recorded it. It went so well, much of the band stuck around to be bricks in the contemporary Wall of Sound.

“Phil was in full control of this whole bunch of musicians playing,” Voorman remembers in Simon Leng’s book, While My Guitar Gently Weeps. “We played all at the same time – we didn’t record one on top of the other; it was all six people playing acoustic guitars and five keyboard players playing the piano all at once. It was crazy!”

The Players

To fill seats in the rock orchestra, Harrison dipped into the players he’d been on stage with since the waning days of the pre-breakup Beatles. Harrison, credited as “Mysterioso,” toured with Delaney & Bonnie and Friends. He was a backing guitarist beside Clapton, in a band which included Dave Mason, Bobby Whitlock, Carl Radle, Jim Gordon, and Leon Russell, who would prove invaluable for The Concert for Bangladesh.

Also called in for sessions were Procol Harum’s Gary Brooker, Badfinger’s Pete Ham, Tom Evans and Joey Molland; Spooky Tooth’s Gary Wright, sax player Bobby Keys; and trumpeter Jim Price. Besides Starr and Gordon, drums and percussions were played by Alan White, who was then the drummer for the Plastic Ono Band and would go on to drum for Yes, and Phil Collins. Peter Frampton played guitar on much of the album. Nashville player Pete Drake played pedal steel. Drake pioneered the use of the talkbox, and Frampton caught it first-hand during sessions before using it as the hook for his hit “Show Me the Way.” John Barham, a pianist and arranger who had worked with Harrison’s sitar guru Ravi Shankar, wrote orchestral scores.

Keyboardist and longtime Beatle associate Billy Preston is a major influence on the album. All Things Must Pass is a spiritual celebration. Harrison set up a small altar in the studio, and devotees of the Hare Krishna movement brought the players vegetarian food. Harrison was as much a spiritual student as a musical one of sitar maestro Ravi Shankar. The same could be said of Preston.

The Songs

Harrison made a special study of the structure and composition of gospel music for his work with soul singer Doris Troy, who he produced and co-wrote songs with. He delved further to co-produce Preston’s fourth studio album That’s The Way God Planned It, and wrote “What Is Life” for it. George also co-produced Preston’s fifth album Encouraging Words, which came out two months before All Things Must Pass, and included versions of the title track and “My Sweet Lord.”

You can hear several versions of the Beatles running through “All Things Must Pass” on bootlegs. Though not as many passes as the famously unreleased “Not Guilty” got. It might have been too pointed a self-reference for the group to deal with. The title comes from a passage of chapter 23 of the Tao Te Ching: “All things pass, a sunrise does not last all morning. All things pass, a cloudburst does not last all day.” It is more philosophical than spiritual, but is as uplifting as its chordal ascension. “Beware of Darkness” is lyrically devotional and cautionary, but its structure is a mystery of faith. It’s all over the place harmonically, as the key aimlessly wanders into melodic transcendence.

“Awaiting On You All” is one of the most blatant spiritual proclamations of the album. It describes Japa Yoga meditation, the repetitive chanting of a mantra, which is mystical energy itself, inside sound. “Chanting the names of the Lord and you’ll be free,” explains the lyrics. Though Harrison does get in a dig at the Catholic Church. “While the Pope owns fifty one percent of General Motors, and the stock exchange is the only thing he’s qualified to quote us,” the last verse opens. Harrison’s deep understanding of the spiritual music he was producing was most fully realized on the album’s most recognizable song.

“I thought a lot about whether to do ‘My Sweet Lord’ or not, because I would be committing myself publicly and I anticipated that a lot of people might get weird about it,” Harrison wrote in I Me Mine. Towards the end of the Delaney & Bonnie tour in December 1969, Harrison heard and fell in love with Edwin Hawkins’ piano-driven, modern gospel rendition of the 18th century hymn “Oh Happy Day.” Inspired by the joyful energy, Harrison wanted to merge the buoyantly devotional “Hallelujah” invocations with the “Hare Krishna” Maha Mantra of the Hindu faith. The subconscious mix evoked some not-so-instant karma when Harrison was sued for “unconscious plagiarism” by the royalty owners of The Chiffon’s “He’s So Fine,” which could be interpreted as a devotional invocation.

“My Sweet Lord” is also the song which best establishes and exemplifies Harrison’s signature, post-Beatles, slide guitar playing.

The album’s opener, “I’d Have You Anytime,” was co-written with Bob Dylan when Harrison spent the Thanksgiving 1968 weekend at Dylan’s home in Woodstock. They also co-wrote the song “When Everybody Comes to Town.” Harrison played on Dylan’s April 1970 New York City sessions for the album New Morning, performing uncredited on several songs, including “If Not for You,” the second of All things Must Pass’ vagabond troubadour trilogy. Dylan had spent a lot of time off the road after his motorcycle crash of 1966. Harrison encouraged the reclusive artist to make his comeback performance at the Isle of Wight festival in 1969. “Behind That Locked Door,” which comes later on the album, is part of that encouragement.

The Beatles passed on including “Isn’t It a Pity” on Revolver, so George gifts us with two fully realized versions of it for All Things Must Pass. The 50th Anniversary box set includes an even more “downtempo version,” with Nicky Hopkins on piano. “Wah-Wah” was the first song recorded for the album, which is fitting because it was written on the day Harrison walked out of the “Get Back” sessions. It’s a great, angry song, in the tradition of “Taxman,” though not as pointed as Lennon’s “Sexy Sadie,” or “How Do You Sleep,” which Harrison played on. “Let It Down” has some great vocal backing by Clapton and Whitlock.

Hearing Clapton’s opening guitar screams squeezed through his wah-wah on “Art of Dying” makes you wonder how the Beatles rejected it in 1966. Although the lyrics George brought to the band at the time might have sealed its fate: “There’ll come a time when all of us must leave here, then nothing Mr. Epstein can do will keep me here with you,” Harrison admitted singing at his bandmates in I Me Mine. “Art of Dying” is the hardest Harrison rocks on the album and Spector lets the band explode. Coming after the intimately amorous “I Dig Love,” it is suspense reincarnate. Listen for Phil Collins’ bongos on the remix.

Harrison brought “Hear Me Lord” to the Beatles when they were recording at Twickenham Film Studios in January 1969. It is as confessional as anything Lennon cops to on his debut album Plastic Ono Band, but primal in an entirely different way. “Apple Scruffs” is Harrison’s personal gift to the group of fans which used to camp outside the Apple Corps offices for a glimpse of the four when they was fab. Performed live by a solo George with Beatles roadie Mal Evans tapping along, it is acoustic fun with a wild and wayward harmonica.

The Jams

But not as much fun as the band had after Spector went to bed for the night. Harrison initially thought it would take just two months to record the album, but had to take a break in the middle to care for his mother, Louise, who was ill with cancer in Liverpool. Louise bought George his first guitar and encouraged all things musical, including allowing the early Beatles to rehearse at their house. She passed away in July 1970.

Bored with the lag time, Spector was drinking heavily, bracing himself with Cherry Brandy just to sit in the booth, and ultimately breaking his arm in a fall. He left the sessions in July 1970, and Harrison produced overdubs at London’s Trident Studios and Apple Studios. But most of the album’s backing tracks were recorded onto eight-track tape at Abbey Road, with the musicians normally playing live.

When Spector left the studios, Harrison and the other musicians would jam into the early hours. “Thanks For the Pepperoni,” pulls the toppings off Chuck Berry riffs. It was recorded along with “Plug Me In” on July 1, 1970, with Harrison, Clapton and Dave Mason on guitars, Radle on bassr, Whitlock on keyboards, and Jim Gordon on drums. “Out Of the Blue” must get its title from how it comes in. It sounds like the band was in the middle of a fun run, and someone rushed to turn on the tape. But listen for Voorman’s lead guitar part.

“I Remember Jeep” is named for Clapton’s dog, and Preston and Baker bring out the jazz while Harrison’s Moog playing breaks traditions. “It’s Johnny’s Birthday” is a mockup of Cliff Richard’s song “Congratulations,” which the band warbled to Lennon for his 30th birthday. These afterhours jams were the kinds of musical driftwood routinely collected by bootleggers before box sets made them standard extras.

Demos and extra tracks, like “Mother Divine” or “Nowhere to Go,” underscore the greatest flaw of the original album: George’s vocals. Even gruff, weak and not-yet-familiar with the songs, Harrison’s voice is a beautifully emotive instrument. During their solo careers, he and Lennon drenched their voices with effects. Even Spector complained in production notes how Harrison’s voice is buried on too many songs. The new mix brings the voices forward. It doesn’t completely take away the reverb, because some of it is artistically correct, like the slap back echoes which evoke a specific sound. It is very well used on “Going Down to Golder’s Green,” an outtake which finds Harrison channeling his inner Elvis. One of the deluxe editions of the All Things Must Pass reissue includes a 96-page scrapbook evoking the time.

The album cover shows Harrison at home in Friar Park. Photographed by Barry Feinstein, George is surrounded by four garden gnomes, which could be taken as an in-joke on his days with the Beatles. All Things Must Pass was released Nov. 27, 1970, as a triple vinyl album. To accommodate the extra disc, Tom Wilkes of Camouflage Productions designed a box with a hinged lid, similar to the packaging of classical music and operas. It is presciently fitting, as the record is a modern masterwork of a timeless artist.

All Things Must Pass 50th Anniversary Edition will be available on Aug. 6.

The post All Things Must Pass Remaster Brings Out George Harrison’s Voice appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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elceeu2morrow · 7 years ago

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By Rob Sheffield Aug 3, 2017 10 hours ago

It's official: All five lads in One Direction have kicked off their solo careers. Ever since 1D went on hiatus in late 2015 – we can only hope it's temporary – the world has been eager to hear what kind of history they'll make on their own. Some have dropped full-fledged albums; others are still getting their toes wet. But in the great Beatle tradition, they're all speaking their minds about the breakup, in the press and in their songs – whether they're dishing out praise or shade. Here's a handy guide to the story so far.

Louis Tomlinson

Solo music: Working on his first solo album after releasing one single, "Just Hold On," a banging duet with electronic DJ Steve Aoki. The most prolific songwriter in 1D – and the most continually surprising – so "Just Hold On" feels like just a taste of what he can do, more a teaser for glories to come than a proper solo debut.

Solo mystique: "Just Hold On" gained emotional resonance from the way he debuted it on The X Factor just a week after the tragic death of his mother from leukemia, making it sound like a heartfelt tribute.

Sounds like: Skrillex plus Diplo plus Calvin Harris times Stevie Wonder plus Howard Jones.

Sample lyric: "What do you do when the chapter ends?/Do you close the book and never read it again?"

Fighting words: "Niall, for example. He's the most lovely guy in the world. Happy-go-lucky Irish, no sense of arrogance. And he's fearless. There are times I've thought: 'I'd have a bit of that.' Zayn has a fantastic voice. Harry comes across very cool. Liam's all about getting the crowd going, doing a bit of dancing. And then there's me."

Equivalent Beatle record: George's "What Is Life?"

Harry Styles

Solo music: His debut was a Number One hit (obviously) and a deeply personal singer-songwriter statement (which wasn't obvious at all), steering away from celebrity glitz. "Sign of the Times," a five-minute piano ballad that's long and rambling and downright weird, made up in the studio on the spot, nonetheless went Top Ten. He kicks off his first solo tour this fall.

Solo mystique: He's making his mark as a credible adult rocker without the slightest hint of shade at his pop fans – which is merely the most difficult trick in show biz. He takes the all-smiles Paul McCartney exit ramp while Zayn has gone for John Lennon–style beef. And "Two Ghosts" drops sly hints about Taylor Swift – he even sings about a refrigerator light, an in-joke for Swifties everywhere – showing that he loves to keep everyone guessing.

Sounds like: Mick Jagger plus Harry Nilsson plus Taylor Swift plus Badfinger plus Donovan times Stevie Nicks.

Sample lyric: "You can't bribe the door on your way to the sky."

Fighting words: "How can you say young girls don't get it? They're our future. Our future doctors, lawyers, mothers, presidents, they kind of keep the world going. Teenage girl fans – they don't lie. If they like you, they're there."

Equivalent Beatle record: Paul's Band on the Run

Zayn Malik

Solo music: He quit 1D bitterly in 2014, calling them "generic." His R&B debut Mind of Mine went Number One in 2016, as did his single "Pillowtalk." The soft-porn video with model Gigi Hadid was his inevitable "hello, I've just left a boy band, so let me announce I am in favor of sex-having" statement. If Gigi is his Yoko, this was his Plastic Hadid Band. He also dueted with Taylor Swift on a Fifty Shades of Greysoundtrack theme.

Solo mystique: Talks about how repressed he felt in the group, yet hasn't quite backed it up with his pleasantly blah solo music. His best solo hit, "BeFoUr," comes on like a dis of his ex-bandmates, who made the album Four right BeFoUr he quit – and the capitalized letters suggest he's sending them a Big FU.

Sounds like: early the Weeknd meets late the Weeknd, with a side order of George Michael circa Listen Without Prejudice.

Sample lyric: "I don't drink to get drunk/I feel all the right funk."

Fighting words: "That's not music I would listen to. Would you listen to One Direction, say, at a party with your girl? I wouldn't. To me, that's not an insult, that's me as a 22-year-old man. As much as I was in that band, and I loved everything that we did, that's not music that I would listen to."

Equivalent Beatle record: John's "How Do You Sleep?"

Niall Horan

Solo music: The Irish guitar boy, always a hit with the moms, scored a great solo hit last fall with the understated and beautiful folkie ballad "This Town." As a nostalgic breakup song, it doubled as a bittersweet farewell to the group. His second solo single, "Slow Hands," goes for a sultrier, even bluesier vibe, with lyrics about making out.

Solo mystique: He's unflaggingly loyal to the group – he's the one who talks about how it's inevitable they'll get back together – and he's stuck to his long-running monogamous relationship with his acoustic guitar.

Sounds like: James Taylor meets Ed Sheeran, with Bonnie Raitt on lead guitar.

Sample lyric: "Slow hands/Like sweat dripping down our laundry."

Fighting words: "When One Direction come back we'll still have albums left to do. ... It's been a year and a bit already. We don't want to put a time on it. But when that phone call does come, no matter whoever it comes from, we're back again."

Equivalent Beatle record: Ringo's "Photograph"

Liam Payne

Solo music: The last to test the solo waters, Liam recently dropped "Strip That Down," a party-hearty flop with Ed Sheerhan and Migos' Quavo that missed the Top 40. He can do better – he cowrote some of 1D's finest tunes – so it's tough to guess why he even released it. He also just became a dad: Welcome to the world, Bear Payne!

Solo mystique: He gets personal about breaking free from 1D in "Strip That Down." But it's bizarre to hear Liam sing about hitting the club to chug rum and grind on groupies – it doesn't ring true from a guy who just had a baby with one of England's most famous models, Cheryl Cole. Quavo adds the unfortunate hook "She gonna strip it down for a thug" – there are many words to describe Liam, but "thug" doesn't make the top ten thousand.

Sounds like: Lil Jon plus Wham! plus Nu Shooz plus Huey Lewis plus the News.

Sample lyric: "I used to be in 1D/Now I'm out free/People want one thing from me/That's not me."

Fighting words: "Everyone is now free to do their own thing in music and explore the music. I was worried that people would take it negatively but it's not meant to be in that sense at all. None of us left the band; we're on hiatus still, and what a great hiatus it's been so far."

Equivalent Beatle record: Paul's "Spies Like Us."

#why didn't he include bty in the list?#he has TG which isn't even out yet #rolling stone #solo louis #solo harry #solo liam #solo niall #rob sheffield #8.3.17 #solo zayn #why so negative to liam

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1direction-unpopularopinions · 8 years ago

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The number of times double standards were at play when it comes to Zayn

Zayn works with Chris Brown (Feb 2016) ot4 fans: "how could he work with an abuser" Liam works Quavo (May 2017) a known homophobe and dates/impregnates Cheryl Cole who has a conviction for assault ot4 fans: Just because he's working with a homophobe doesn't make him one Zayn dates Gigi 4 MONTHS after breaking up with Perrie ot4 fans: how could he move on so quick Revealed Louis impregnates Briana WEEKS after dumping Eleanour ot4 fans: .....nothing..... Ed Sheeran reveals Niall screwed Ellie Goulding despire knowing she's dating Ed Sheeran ot4 fans: .....nothing..... Zayn starts dating Gigi AFTER she Joe Jonas break-up ot4 fans: Him and Jonas were pictured together how could he Stripper sells story to The Sun about Zayn cheating with her while dating Perrie ot4 fans: what a pig Flight attendant sells story to The Sun about Harry cheating with her while dating Kendall ot4 fans: it's The Sun, the newspaper is known for bullshit

PillowTalk artwork released with topless Zayn on the cover (Feb 2016) ot4 fans: he's getting desperate using his body to sell his music...is that what he left 1D to do Harry released topless pic (album cover) Liam topless video promo for Strip That Down ot4 fans: ahhERTRET so turned on

Zayn imiatates Lil Wayne album cover ot4 fans: OMG what's he thinking zero imagination Harry album drops plagiarizes Badfinger, The Beatles, Bowie in his album copies Prince album title Sign o' Times copies Shed Seven album cover ot4 fans: ..he's just inspired and paying homage

Zayn one of the few men in showbiz to open up about male taboo subjects of mental health, self-harm and eating disorder ot4 fans: He's a liar covering a drug addiction, he's playing the victim..for sympathy Harry wears a couple of pink suits ot4 fans: wow Harry is such a brave gender bender

Zayn's Mind of Mine is released March 2016 contains 4 sexual songs out of 18 ot4 fans: There's more to life than sex he's so shallow Harry's album released May 2017 contains several songs about sex ot4 fans: OMG he's a young man it's only natural he'll sing about sex Zayn tell Billboard "the music I was releasing with 1D was not real to me, it wasn't about me" ot4 fans: what a jerk Harry tells Rolling Stone I wanted to to be honest with my writing "I hadn't done that before." ot4 fans: he's just keeping it real YOU don't even need to stan Zayn to notice the double standards that this fandom has displayed in 5+ years

#niall horan #harry styles #zayn malik #louis tomlinson #submission

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lock-my-feelings-in-a-jar · 1 year ago

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#badfinger #come and get it #1970 #this was the first video i ever knew from them #and the only one i knew of for years #look how cute #i love #tom's little face and his big smiles #his eyes #he's doing the puppy eyes thing #i love him

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lock-my-feelings-in-a-jar · 6 months ago

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How did you come across Argent and Russ?

I LOVE THIS ASK, i get to thank the lovely @burn-on-the-flame again!!! and i can let my need to talk endlessly about russ flow!!! it might go off topic a little bit a lot!!! you're diving into the depths of my mind by sending this!!!

expect a lot of words, it's probably going to be WAY more than necessary because i can't and won't shut up about them and what they've done to me and my brain(especially russ).

okay here we go

so i've already known the song hold your head up just from hearing it on the radio or things like that sometimes, but never looked into them before, so for a long time it was just a familiar song and that's all. i THINK i also knew the song liar, maybe the three dog night version since their cover of it was the hit.

but anyway, sometime last year, i think like november or something maybe, my wonderful and nice and amazing friend(who i love very much) showed me their set of six concert(THANK YOU AGAIN AND AGAIN AND AGAIN AND AGAIN(<accidental song reference) @burn-on-the-flame) and, although i was still in deep(<-argent album reference) obsession with badfinger, in my head i already could tell right away that argent was absolutely going to take over my life at some point.

i was thinking while watching it "is this gonna be the next obsession? yeaaah this is definitely gonna be the next obsession"

especially russ because, just on a first impression alone, besides the beautiful voice and guitar and everything catching my attention first, he just had something else about him that's like.. i don't know how to describe it. interesting i guess(the way he performs for example is very interesting and funny to me), but also a certain vibe to him or something, or things like how you can visibly SEE his love for music.

i felt like i could see it at least, and still do. but somehow he just drew me in and i couldn't stop thinking about him for months just from watching that one video.

it just felt like my life needed him in it for some reason. and it wasn't like having a crush at the start, it was something else. honestly started to feel like he was just knowingly dragging me into his whole world.

so anyway, i was letting my badfinger obsession ride out a little first because i felt like i couldn't REALLY listen to anything else yet with proper appreciation as long as badfinger were clung to my brain the way that they were(i still love them very much and always will, by the way)

so that went on untillll i think january? which was when i first started posting gifs from that argent video. somewhere around the same time was when i started listening to their albums.

since i was already feeling the way i was about them, i wanted my first time listening to each album all the way through to be with my full attention and no distractions.

so one day, i decided that i'd stay awake later than usual in bed and just lay there and listen in the darkness of my room with headphones on. i did that with the firsttttt three or four albums.

BUT i listened to each one for a few days first before moving on to the next one, just to let it all sink in a little at a time.

so like, i'd listen to the first one that night, then keep listening to it over the next few days, then do the same with the second one, add it to the playlist, listen to them both for the next few days, do the same with the third one, etc.

i haven't listened to the last two argent albums yet, i only know up to nexus because russ left the band after that one.

so i listened to nothing but those first five argent albums for quite a while first before moving along to russ's solo albums, although i was going into SOME of his songs a little bit because i couldn't stop watching videos of him, learning about him and looking for more things to gif.

i think i remember watching some videos muted at first though, just because i haven't listened to the albums yet at the time and i was like "i want to see what the video is like, but i'm not ready to hear it yet" but i ended up listening to a few of them anyway because i couldn't fight the curiosity and, of course, i loved it. i knew i would.

but i was getting more involved in listening to his interviews first, actually. the things he has talked about had me suddenly crying on my floor like a baby on and off for a couple of weeks, i think it was.

this is when he started getting into parts of my mind that felt like they haven't been touched before. he just went in there and started rearranging everything in my brain(in the best way possible).

I MEAN bands have made me cry before over things like, with iron maiden, i'd be like "omg that's so cute, look at how they are with the fans" and lots of things like that. with badfinger, i'd cry over similar things or the fact that their story is literally one of the saddest things ever and should have never happened.

(bands are one of the few things in life that do make me cry. bands/music and animals.)

but no band or musician has ever made me think like this or cry like this for myself, until russ.

and then after those couple of weeks of just listening to him talk, thinking about it, relating to it and crying almost constantly, i woke up one morning feeling good??? for once????? i used to have this pit of dread in my stomach just about every morning, never wanted to get out of bed because it felt like there was nothing to get up for, etc. so then when i somehow suddenly felt GOOD, i was like what is HAPPENING

and then when i DID start listening to his albums, you combine all of that stuff along with his motivational songs, his lyrics, things from his own experiences, and it was like .oh my god where have you BEEN ALL OF MY LIFE???????

and then everything about the way he is is just perfect, he's so adorable and wholesome and loving and passionate and intelligent and (multi)talented and cute, i love him.

anyway, everything's just been getting better and better for me from then on. i keep getting something new out of his words and songs the more i listen.

real life changes have started happening that i never thought would ever happen to me, things i never thought i could do, fears i've had that feel like they've just vanished, etc., and it's only adding to the momentum of getting better every day.

and that's the story of how i got into argent and russ as much as i am right now, why i love them so much, and why i have no plans of letting go of them anytime soon, or ever.

#russ feels like #he's just #exactly what i've been looking for #for so long #and there AIN'T NO TURNIN' BACK (<- song reference)#IT'S TOO LATE(<- song reference) for me #because it FEELS LIKE THE REAL THING(<- song reference)#help these references are just from one album and they all fit #i wonder how far i could go with that with more albums #well anyway #i'll stop typing now because i'm going for a walk #enjoy the view from this window into my brain

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itwas50yearsagotoday · 5 years ago

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My Top 100 songs of 1969

12/31/19: Oh this is going to piss people off… before the New Year rolls around (in like 3 hours for me here in STL MO) I wanted to present my Top 100 songs of 1969. Again, like last year (50 in ’68) know that this is my opinion only and it probably sucks but I don’t care… this is what I live for, dammit! I’m presenting this list in alphabetical order and will only reveal my favorite track as it appears in said list. Ready? Go.

Amboy Dukes ‘The J.B. Special’ …last Nugent song, I promise

Badfinger ‘Come and Get It’ … they’d do better

The Band ‘Look out Cleveland’

The Band ‘Up on Cripple Creek’ …any song that involves horse racing

The Beatles ‘Sun King/Mean Mister Mustard/Polythene Pam/She Came In Through the Bathroom Window’ …all songs must be included in this suite

The Beatles ‘You Never Give Me Your Money’ …took years for this to grow on me

The Beatles ‘I’ve Got a Feeling’ …technically recorded but not released until ‘Let It Be’

The Beatles ‘Golden Slumbers/Carry That Weight/The End/Her Majesty’ … see three up

The Beatles ‘Ballad of John and Yoko’

Blodwyn Pig ‘It’s Only Love’

Blodwyn Pig ‘Leave It With Me’

Bread ‘It Don’t Matter to Me’ …we’ll visit in 1970 this piece of Adult Contemporary

Caravan ‘Love Song with a Flute’ …just a hint of what was to come

Chicago Transit Authority ‘I’m a Man’

Chicago Transit Authority ‘Poem 58’ …it’s a fucking jam

Chicago Transit Authority ‘Does Anybody Really Know What Time It Is?’

Climax Blues Band ‘Hey Baby, Everything’s Gonna Be Alright Yeh Yeh Yeh.

Climax Blues Band ‘Cubano Chant’

Cream ‘Badge’ …sounds more like solo Clapton, but I’ll take it

Cream ‘Crossroads’ …technically live ’68, but whatevs

Creedence Clearwater Revival ‘Bootleg’

Creedence Clearwater Revival ‘Proud Mary’ …possibly THE representative song of CCR, if not the year

Creedence Clearwater Revival ‘Born on the Bayou’

Creedence Clearwater Revival ‘Green River’

Creedence Clearwater Revival ‘Down on the Corner’

Crosby, Stills & Nash ‘Suite: Judy Blue Eyes’ …doesn’t get old

Crosby, Stills & Nash ‘Wooden Ships’

Miles Davis ‘Shhh… Peaceful’

Spencer Davis Group ‘Letters from Edith’ …I know… what? For the longest time I thought this song was called something else… I love the swooping guitar and cool Winwood-less vocals

Neil Diamond ‘Holly Holy’

Neil Diamond ‘Brother Love’s Traveling Salvation Show’ …ridiculous fun

Donovan ‘Goo Goo Barabajagal (Love Is Hot)’ …Donovan’s last stab at anything

The Doors ‘Touch Me’

The Doors ‘Wishful Sinful’ …another hidden classic from the best American band ever

The Doors ‘Tell All the People’

Nick Drake ‘’Cello Song’

Nick Drake ‘Man in a Shed’

Fairport Convention ‘Come All Ye’

Fairport Convention ‘Matty Groves’ …wild song about a deadly affair that just loses control at the end

Flamin’ Groovies ‘Brushfire’ …marry the Faces, Stones, Chuck Berry and San Francisco you might get this

Flamin’ Groovies ‘Love Have Mercy’

Flamin’ Groovies ‘The First One’s Free’

The Flying Burrito Brothers ‘Christine’s Tune’

Free ‘I’m a Mover’ …and thus begat the legend of Paul Rodgers

The Free Design ‘2002 – A Hit Song’

The Free Design ‘Now Is the Time’

Grand Funk Railroad ‘Got This Thing on the Move’

Grand Funk Railroad ‘Are You Ready’ …best treadmill song of the year

Grateful Dead ‘St. Stephen’ …the Aoxomoxoa version, although the Live/Dead version is good too

Grateful Dead ‘Doin’ That Rag’ …see above 1

Norman Greenbaum ‘Spirit In the Sky’ …another song we’ll visit in 1970, but it came out in ’69

The Guess Who ‘Of a Dropping Pin’

The Guess Who ‘These Eyes’ …first true hit with the new lineup

The Guess Who ‘Laughing’

The Jackson 5 ‘I Wan’t You Back’ …first #1 in 1970

Jefferson Airplane ‘Hey Frederick’ …Kaukonen’s guitar and Grace sell this lengthy jam

Jethro Tull ‘Nothing Is Easy’

Jethro Tull ‘Reason For Waiting’ …Tull would never be better, even when they were makin’ hits

Jethro Tull ‘Jefferey Goes to Leicester Square’

Led Zeppelin ‘Good Times Bad Times’ …best song of 1969, of course

Led Zeppelin ‘Heartbreaker / Living Loving Maid’ …songs must be joined at the hip… must

Led Zeppelin ‘How Many More Times’

Led Zeppelin ‘Whole Lotta Love’ …don’t cheap out on the shitty single version

Led Zeppelin ‘What Is and What Should Never Be’

Led Zeppelin ‘Your Time Is Gonna Come’ …underrated beautiful tune

Led Zeppelin ‘Communication Breakdown’

Love ‘I’m With You’

Steve Miller Band ‘My Dark Hour’ …McCartney on backup vocals! Fly Like an Eagle?? Oh wait…

Steve Miller Band ‘Space Cowboy’ …possibly his best song ever

Steve Miller Band ‘Brave New World’

The Moody Blues ‘Lovely to See You Again’ …best Moody Blues song? Perhaps…

The Moody Blues ‘Beyond’

The Moody Blues ‘Out and In’

The Moody Blues ‘Eternity Road’

Mott the Hoople ‘Rock and Roll Queen’ …sloppy ass jam that is basically proto-punk

The Nice ‘Azrael Revisited’

The Nice ‘Rondo’ …watch the French video of this, wow

NRBQ ‘C’mon Everybody’ …closest sound to the Groovies here

NRBQ ‘Rocket Number 9’ …doesn’t sound like the Groovies at all

Pink Floyd ‘Careful With That Axe, Eugene’ …talking ONLY about the Ummagumma live masterpiece version

Procol Harum ‘The Milk of Human Kindness’ …recent discovery

The Rolling Stones ‘Brown Sugar’ …kind of a cheat, but they DID play it at Altamont, even though not released till ‘71

The Rolling Stones ‘Gimmie Shelter’

The Rolling Stones ‘Honky Tonk Women’

The Rolling Stones ‘Midnight Rambler’ …Stones at their most eeeeeevil!

Ten Years After ‘Bad Scene / Two Time Mama’ …these two songs must be joined… do not get old, as one is the antidote for the other

Ten Years After ‘Stoned Woman’

Ten Years After ‘The Stomp’ …another good treadmill tune

Three Dog Night ‘Celebrate’ …would actually hit in 1970

Thunderclap Newman ‘Something In the Air’ …Townshend’s in there somewhere

Traffic ‘Shanghai Noodle Factory’ …who needs Dave Mason?

Traffic ‘Medicated Goo’

Traffic Sound ‘Meshkalina’ …Peruvian Proto-Prog?

The Velvet Underground ‘What Goes On’

The Who ‘Pinball Wizard’

The Who ‘Tommy, Can You Hear Me?’ …shortest song here, but full of flavor

The Who ‘We’re Not Gonna Take It / See Me, Feel Me’

Neil Young ‘Cinnamon Girl’ …karaoke’d this once and cleared a room

Neil Young ‘Down By the River’

Happy New Year everyone!! See you in the ‘20s. -P

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